Sand Mandala & Creation of Sacred Spaces
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Performance Space Installation

 

       

 

A note on the creation of sacred spaces

The design and construction of places of worship churches, mosques, stupas or temples are examples of creation of a sacred space. Many cultures have created some of the most beautiful and impressive sacred architecture which creates wonder and awe in the eyes of the believer and nonbeliever alike. Entering a place of worship is a metaphor for entering into a spiritual relationship.

There have also always existed some places on earth that have a special energy about them. These places of pilgrimage also provide access to the mystical. These 'power spots' exist in the form of sacred mountains, healing springs, oracular caverns, enchanted forest glens, and places of divine revelation. The sacred is everywhere. The River Ganga, mother to an entire civilization, Mount Kailash, abode of Shiva, The sacred Kadam tree of Brindavan, the Dargah of  Khwaja Moinuddin Chisti the Sufi saint, in Ajmer.

 

But why go on a pilgrimage? For 'Banaras is everywhere'. Our homes and workspaces are sacred spaces which can nourish and energize us as much as any pilgrimage. The techniques of Vastu and Feng Shui teach us how to create a greater and new sense of harmony and balance in our lives by proper placement of objects in our living and workspaces.

 

Our attempt when you walk into Siri Fort to listen to a lecture or see an event is to make you feel that you have entered a sacred space where you are not viewing a performance but participating in a ceremony that will nourish and invigorate you. Our attitude as an audience is not passive, bored viewing but an active, dynamic involvement with the sacred music and dance from around the world.

 

Yale University Architect attempts this with a simple bamboo and fabric construction and the monks of the Likir Gompha in Ladakh spend days constructing a Sand Mandala which will be dismantled on  the last day of the festival, such is the temporary nature of life itself.

 

Architect Naomi Darling will be working with architecture students from Jamia Millia University to create an installation for the stage at the International Festival of Sacred Art.  In order to accommodate the variety of performances, the installation will be composed of multiple prefabricated lightweight movable elements that will be able to be arranged specifically for each performance.  The elements will be made with local natural materials, bamboo and the colorful silk and cotton fabrics for which India is renown.   Bamboo is a lightweight renewable resource, pliable and flexible with incredible strength.  The movable elements will take advantage of these characteristics of bamboo in the prefabrication of self-supporting tripod elements that swoop overhead to create a sense of enclosure in a bamboo temple.  The bamboo structures themselves will take advantage of the tensile strength of bamboo in their forms that will call to mind the great gothic cathedrals that reached to the heavens.   

 

Surrounding the bamboo will be suspended fabric panels of different colors and transparencies that move with the breeze and the movement of the dancers.  The colors will be selected for each performance to best highlight and showcase the dancers and singers on stage.  The suppleness and flow of the fabrics will complement the static bamboo structures and together create the space in which sacred performances of dance and music can unfold and inspire.   

 

Naomi will be arriving in Delhi two weeks prior to the beginning of the Sacred Arts festival to allow time to work with the local materials, refine details and work with architecture students at Jamia Milllia to prefabricate all elements.  An additional challenge is that the installation must be able to be fully installed and de-installed in one hour.  When the auditorium is accommodating other functions, the elements from the stage installation for the International festival of Sacred Art will be installed in the spacious lobby as sculptural elements that create contemplative and meditative spaces. 

 

   

Sand Mandala
 at Siri Fort Auditorium Foyer

The Sand Mandala is a Tibetan Buddhist Tantric ritual practice of creating a symbolic representation of the Universe.  Mandalas are related to Tantric doctrines, normally kept secret, and can take many forms from simple diagrams and more elaborate scroll paintings on cloth to complicated patterns of coloured sand and large three-dimensional carved structures.  They embody aspects of the Absolute, and are tools to meditation, initiation and visualization.  But their most profound symbolic value is that they embody the path to the sacred. 

 

As a rule a mandala is a strongly symmetrical diagram, concentrated around a centre and generally divided into four quadrants of equal size.  When constructing a sand mandala the surface is first cleaned and then consecrated.  Lengths of cord are dipped in wet chalk and then used to mark out an intrinsic system of measurements.  These are then filled using coloured sand that is gently teased out of long narrow metal pipes.  After completion the mandala is ceremonially dismantled and submerged in a body of water, symbolizing the transitory nature of life.                                 

 

The four monks who will construct the sand mandala come from Likir Monastery in Ladakh.  Likir monastery, founded in the 15th century, belongs to the Gelukpa (Yellow Hat) sect which was founded by Tsongkhapa.  The monks of this lineage have a long tradition of making exquisite mandalas.

 
 
Organized by Geshe Lobsang Samten (Head Lama, Likir Gompa), Monisha Ahmed and Wangchuk T Fargo.